Sounds like good shit. The premise to that moon base one is pretty solid sci fi. Helium 3 is considered a good candidate for a fuel source if cold fusion is ever figured out, as it produces very little radiation. And it's believed a lot of it might be on the moon's regolith due to billions of years of solar wind accumulation. If we ever had a moon base in the future, that would be the most likely reason. And automation would be more likely than manned colonies, since it isn't likely to be cheap anytime soon to sustain life up there.

Just watched BR2049 again, the second screening was much more enjoyable and I now honestly consider the film "great". As far as loving it as a whole, I'm still a bit on the fence, the elements it gets right are easily 11/10 material but there are a couple narrative conveniences that are a little silly, but wholly I consider this as an experience and I left the theater completely satisfied. Oddly enough the theater was a full house! 4 people actually left halfway through and bitched about it being too "boring", "slow" and "nothing happens". I guess they didn't take their Ritalin for the day.

Some new observations:

The bee scene was important because that’s the first time K has seen an actual living creature. All the animals have been artificial up to that point, BR included, so this is the first time we as an audience and K witness a real living animal. When K finds Rachael’s grave, there’s that flower on it. I think it was left there by Deckard as he has bees that could actually pollinate flowers. The pleasure model even mentions that plant life is essentially dead in this setting earlier on as she’s never even seen a tree in her whole life. Also, I do see it as a call back from when Deckard asks Rachael what she would do if she had a wasp on her arm, she claims she would kill it. K embraces the bees, clearly showing a separation between K and Rachael as son/mother.

Pale Fire is showcased in the frame heavily during the first 30 minutes, I really want to check it out now. Ironically Joi states she “hates the book anyway” so I wonder how that ties into their subplot. Also, K’s baseline test is taken word for word from one of the excerpts from the novel and it makes sense now after looking into it.

“A system of cells interlinked within cells interlinked within cells interlinked within one stem. And dreadfully distinct against the dark, a tall white fountain played.” In context, I think the “tall white fountain” is Deckard’s daughter’s reveal as K thinks he is the true born replicant child. The main motif of Pale Fire is that upon near death experiences, two people claim to have seen a “tall white fountain” but it is a misprint, the real translation is a “tall white mountain”. Looking forward to diving into that one further and maybe they’ll bring it up on the blu ray special features.

I think BR2049 comes to 4 main points:

1) There was no real decoy, it was purely on paper. K is utterly, completely, unequivocally unremarkable. Thus his name - Joe, as in an Average Joe.

2) Joi does not possess a soul, she is completely fake. She is the other side of the replicant coin and is made solely to please and coddle her owner/lover. The giant pink Joi on the bridge calls K Joe as well, and her entire branding scheme is that she'll be anything you want. K wanted to feel special, so his Joi always reinforced this to him, but it was never real. Joi is K's fleeting dream of being special, and once her emanator is destroyed, K learns he is not special.

3) Wallace posed a question about whether Deckard was moved by love or programming, to me there's no doubt whatsoever Deckard is fully human. The original film is about a bad man finding his humanity through the grace of a machine. Wallace's question is not a literal "Are you human or robot?" question, but pondering what the difference is, if love is just a chemical, and if we are products of biological programming or something higher like a soul. The ultimate takeaway is that it does not matter, in fact the only thing that matters is what we choose to do with our lives.

4) In summary, 2049 is about dreams and delusions. K wants desperately to be special, Joi tells him this constantly, and he instantly assumes all the evidence points to him because it's his dream. He becomes deluded and forces himself into the situation even as it destroys him. He thinks this is what it means to be human, to grapple with one's humanity. He is torn between two sides telling him what his identity is and should be - the LAPD who informs his identity as that of a slave, and the resistance which informs his identity as that of a free replicant. When his delusion is shattered by meeting the pink Joi, he chooses to follow his own path and not let anyone tell him who he is or what he should do. He makes the most human decision and takes his life into his own hands. He saves Deckard for the same reason Roy did. He wanted someone to remember him, for his final decision that fully validates him as human to not be in vain. No one else gave him his identity, only he did, and his sacrifice ensured forever that he was by every metric a human being, even if the world would ultimately forget him.

;_;

So yeah, all in all, I consider it to be on equal footing with the original final cut, my current favorite film of 2017 and arguably the greatest sequel ever made. It’s slightly flawed pure sci fi but we don’t get films handled with this amount of care hardly ever anymore and for that I can appreciate that this exists.

side note, what do you think of the upcoming film 'Annihilation'? Looks intriguing.

That's a good take on things. The only thing I'd disagree with is your comments about Joi. I believe it's left intentionally vague whether or not Joi really loves K, or is just programmed to.

More specifically, I think it's an extension of the question from the original BR, does it matter if something is fake or not? Can you even really tell?

If Joi does have genuine human emotions, but was programmed to love K, and ends up doing so, is she really faking it? She may or may not be capable of doing otherwise, but it's love an act of "free will" or is it just a condition in our minds towards selfless, unconditional affection and attraction? If the latter, then how could you say something programmed to love you cannot or does not? If we believe in "true love," that two people are "destined" to be together based on how perfect they are for each other, wouldn't a machine perfectly tailored to love your individual quirks and to be your ideal partner be, in a way, your perfect soulmate?

I think you're supposed to feel very uncomfortable around Joi the entire film, and I believe the double image sex scene is a visual microcosm of what they intended. You're left on the fence between feeling like it's real and feeling totally creeped out.

The way she blends over a real woman, not quite convincingly, but still earnestly. And since she did it without asking him, did she want this or is it just a pre programmed subroutine? You can't ever really make love to her, but if she can pretend that you are, and you're really doing it with someone else, well, that gets pretty blurred, right?

I think a lot of people think Joi is "a waste" because they just assume that the answer is definite. She's definitely fake, and therefore her scenes can't have real character progression or impact beyond making K seem pathetic.

But I think it's pretty clear the film makers intended for you to not be fully sure the whole time how much of it is fake and how much of it is Joi defying her programming. And, like everything else, whether it really matters or not.

And ultimately, you're left to ponder, when she is "murdered," whether she really cared for him and risked her life, or whether she was incapable of doing otherwise. Which is part of what makes her killer's insult, "I hope you enjoyed your experience with our product," so fucking brutal. She implies that all of the deep, meaningful feelings he had for her were as manufactured for him as some fast food garbage. But if his feelings were real, and Joi had real feelings too, then was it really just manufactured?

Well damn, definitely something(s) to think about. I was more along the lines of what you're saying of what Joi meant to K during my first screening but after my second watch, for me, it all comes down to that bridge scene with the pink Joi. I don’t think K’s arc works properly if Joi really did love him. With that being said, I would like to comment on your points as I don’t even disagree with you here, I think that’s the intent the filmmakers were going for as well, leaving it up to us to decide if their love was real or not and if it even matters in the end. She was real to him, that’s all that matters you could argue. On the flipside I saw it as Joi’s “Joe” comment is the same as K’s wooden horse dream. The entire point isn’t that their love wasn’t real, it’s more of a generalized existential crisis. K is looking for meaning, and eventually finds it by helping Deckard. Very interesting themes going on here though.

This reminds me of Wallace’s rant to Deckard at the end with Rachael. Your perfect soulmate statement has left my brain in a twisted mess haha, but in a good way. You can argue both ways of what constitutes real affection in this scenario. I could see Joi bypassing her programming to love her partner unconditionally just like how K goes way off baseline by solving his identity crisis. Great point about the double image sex scene now that you mention it, I think that was the intent as well. The concept of Joi was cute, mainly due to Ana de Armas, but thinking about on a deeper level it is a little creepy like you said. Good shit man.

I didn’t think any of the Joi scenes were a waste, but I hear what you’re saying, they were moving and thought provoking as well as technically marvelous and I felt were extremely important to K’s journey as a character. And yes, Luv was a heartless bitch in that moment, ugh it got to me regardless. “But if his feelings were real, and Joi had real feelings too, then was it really just manufactured?” this is the biggest question I think is purposely left up to us to decide and how we perceive the pink Joi moment is the major revelation to either side of the argument.

Honestly, it’s been great talking about this film with you dude, I live for this kind of shit and I appreciate you taking the time to share the experience and your thoughts. And to think all those months ago we were so worried. Never would of thought having a deep, engaging and intellectual discussion about holographic waifus would be a highlight of 2017.

As far as ‘Annihilation’, it’s a new film from Alex Garland, he’s one of my favorite up and coming writers and this one looks interesting. (Sci-Fi/Horror it looks like, not pure sadly)

There isn’t much of a description released yet but it’s adapted from a book (of course) and here’s a brief introduction: A team of four cross the border into an uninhabited area known as Area X. The team consists of an anthropologist, surveyor, biologist, and psychologist. None of the team is ever identified by name. The story is told through the biologist's field journal. They are part of the 12th expedition into Area X and it is revealed that the biologist's husband was part of the previous expedition into the same area. The narrator's husband returned unexpectedly from the expedition, showing up in their kitchen without any recollection of how he got there. The rest of his expedition show up similarly. A few months later the 11th expedition has cancer.

sooo i watched baby driver the other day andddd... i really didn't enjoy it. like almost at all. i only got halfway through before i turned it off because i was bored. what was i missing? there has to be a reason for why it got such widespread acclaim. the only thing that really stood out to me was the soundtrack, which was good i'll admit. did i just not get to the good parts or? i'm willing to watch it again with a different frame of mind, but i was severely unimpressed by it.

It has a lot of nods to 1950's film tropes and style choices, a lot of the actions the characters take fall perfectly in melody of the song in the background or reflect lyrically what is happening on the screen which is kind of neat/fun. It is a gimmick however, so if you didn't like that you'll probably not appreciate the effort put into the filmmaking. This is why seeing it in the theater was kind of the only way to see it as you felt the beats to essentially how each character reacted in a scene. I bought it on blu ray and watched it at home and it's not the same experience, hence why I'm buying surround sound speakers now. The story is pretty generic, that's my only complaint, but it does kind of fall into that older era of Hollywood genre films. It's like Wright wanted to make his own version of 'Drive' set in the 1950's with an iPod. The camerawork is slick with no shaky cam, so the actions scenes are edited pretty nicely compared to the usual crap we get. There is a heavy emphasis on colors used for each character either by costume design or lighting in the frame to show this moral brightness and darkness throughout. The main thesis of the film is about freedom, Debora represents freedom to Baby and the conflict between him and Buddy was pretty well done in a mirroring of character. I wont spoil the rest but in the end, you like what you like. I thought it was great and watching all the behind the scenes footage on the blu ray made me really appreciate the effort put into it but I do think it all comes down to the musical gimmick in the end. I think people just liked seeing an original idea during the summer with a relatively smaller budget that resonated well instead of shit like Kong which is the equivalent of a dollar menu product at McDonalds despite its huge budget.

-edit-

Got dragged into seeing JUSTice League by co-workers.

Here we are, finally, the JUSTice League arrives! The film obviously had many hurdles to jump through, considering I think the modern DC train is 0/3 so far, but sadly it simply still falls flat in the end. I kind of blame the reshoots since the first hour I was semi alright with but oh the classic “DC treatment” fully kicks in during the second half and turns into pure camp. It was honestly better than I thought it was going to be but still heavily flawed. I’m sure glad they made the use of Superman’s death in BvS so “powerful” here after MacGuffin box saves the day! Seriously? That monumental death scene just gets washed over in mediocrity, what a huge waste of potential there. I don’t understand how people stand this cultural genocide at this point, but I digress. Don’t even get me started on modern Star Wars.

I really don’t understand where they are going with this cinematic universe. You go from Superman breaking Zod’s neck (which I honestly didn’t have a problem with but fanboys, ya know) to Doomsday and Superman’s death to Steppenwolf, who is horribly underwritten and has no screen time but mentions Darkseid in one line of dialogue. So… what’s left to look forward to exactly, minus the final boss routine? The ending reveal made this all the more laughable. “Spoilers” I guess, what the hell is Deathstroke going to do against Superman when he literally TKO’d a God in half a second!? And the idea of Lex, or Alex I guess, Luthor returning to the big screen, oh lord help us all.

I thought Batffleck was alright, minus that really goofy costume design, what the hell was that!? Wonder Woman went back to her shitty BvS routes with bad acting and her establishing action scene made me audibly laugh out loud, oh the camp is there. Cyborg was actually my favorite character throughout minus the bad CGI during certain scenes. Aquaman and Flash were absolutely awful, this is the product of the reshoots I’m guessing or just really lazy writing/attempt to copy Marvel. I don’t understand why audiences loved them so much given their complete one-dimensional points of view. If you saw the trailer you can predict the entire thing, not saying Marvel gets away with this either, but damn, after the Superman revival scene it all came crashing down really hard. Reminded me a lot of how I felt about ‘Wonder Woman’, dug the first half, laughed at the second unintentionally.

The film is just so stiff and bland and takes no risks at all, it felt like another by the numbers superhero flick seemingly thrown into a script generator for quips and levity, so they could make time to film all the greenscreen action set pieces and digitally remove Superman’s mustache. It’s a step ahead from the train wreck that was BvS but still needs a lot of thematic overhauls for DC to even stand a chance at this point. It’s flawed but overall fun schlock if you’re into that sort of thing I suppose, you willingly must look past a lot of issues to get something out of JUST, but I think there is potential if more talented filmmakers get involved for DC’s future to have a heartbeat. Still batting .000 so far!

Thor 3 was alright, something I never thought I would say in my life but here we go:

‘Thor: Ragnarok' was, well, let’s call it interesting. I didn’t love it or hate it but do have some observations worth mentioning. Thor and Hulk both have been sort of shoved to the side in the MCU in favor of the other characters, so I thought it was great to have these two as a buddy cop duo here. I personally did not have a care in the world about Thor as a character, but I think Taika Waititi had this in mind when directing the film and turning it into a borderline experimental comedy. The film in its core is about each character confronting their past and learning from it, as even in Thor’s case, harkening back to Norse mythology by trading an eye for more wisdom. This was the main reason the film held my interest from Hulk to Loki among many others, this thesis remains true to every character’s motivation.

All the Sakaar scenes were 50/50 for me, as some of the comedy chops worked quite well and some fell completely flat, but I admire Marvel trying something new for a change after 17 films. Although the plot here is very generic, I think this film was testing the waters of how weird they can go with these characters and this universe. I think the “bad guy takes over and doomsday plot” is over after this one and is rather welcoming. On that note, let’s talk about Hela. I thought her costume design was really cool, just thought I’d add that in. She represents a dictatorship and reminds Asgard of their more militarized ideology as a civilization by literally ripping off the paintjob of benevolent Odin’s accomplishments as a leader. Her mentality of an extreme version of “us versus them” essentially makes everyone in the universe an enemy that needs to be conquered and it’s up to the Guardians of the Galax– er, Thor and friends to save the day! My only gripe with her is that she never got any screen time to interact with the characters so when the final clash happens it just kind of felt a little bland because there’s very little conflict going on.

The characters were all interesting here as we saw sides of Thor and Hulk we’ve never seen before among others for either comedic effect or to reflect on this “confronting one’s past” theme. Loki was great as usual, it was nice to see him again. I liked the general color aesthetic throughout as well, the neon inspired environments were fun and visually engaging with a neat synth soundtrack at times, although not always utilized effectively to reflect the mood in certain scenes. I think this can be categorized as a comedy when thinking on it critically, mainly Thor, Hulk and newcomer Korg as examples. It all falls under the typical Marvel foundation to all their other films but this one took it a step further and went for a more lighthearted/adventure approach from some of their other ideas. I’m not sure how I feel about the tone overall, but it was just kind of nice to see something different from them, which is all perfectly illustrated in the opening scene. It’s very cookie cutter yet refreshing at the same time.

In the end, I did have fun watching this and thought the shift in tone worked and fell flat at times, but it’s honestly interesting to see where Marvel goes with these standalone films after Ragnarok. They really do need to spruce up their formula if they want to keep the train going and I think this was a hint at that direction.

Just watched 'Lady Bird' and it's up there with BR2049 for my 2017 favorite. A24 is on fire right now.

Coming of age dramas aren’t normally my cup of tea so I was a bit skeptical about all the praise this film was getting when going in. I’ve been a fan of Greta Gerwig, notably in ‘Frances Ha’, so I was also curious to see her directorial debut with ‘Lady Bird’ and it was actually pretty great! One of the better 2017 releases for sure with some minor issues. You can definitely notice the Baumbach style that’s present but the way she passionately captures growing up in post 9/11 Sacramento was spot on, minus no one wearing any Kings gear. Unrealistic, 0/10. Kidding.

Saoirse Ronan nails to role of “Lady Bird” aka Christine perfectly as we watch her go through her final year of a Catholic high school. There’s the typical teen angst moments happening but done rather more personable and realistic instead of overdoing it. Lady Bird goes through a spiral of emotions as her family struggles to stay afloat in 2002’s America. The main conflict between Lady Bird and her mother was nicely reflected through the opening scene and ending driving montage and I think it will leave a lot of mother/daughters in tears. Their relationship drives the heart of the film and the rest is watching Lady Bird up to antics which in many cases is pretty funny, I wasn’t expecting the laugh as much as I did with all the family drama scenes in the mix. She longs for a life far away from Sacramento and has this sort of destiny inspired vision behind her goal, all the while missing what’s been right in front of her the whole time and I think we can all relate to that at some point in our lives. Lady Bird is also surrounded by the general social pressures and types with the supporting cast which I thought worked well in some cases, like her friend Julie, but kinda went a little too cliché with characters like Jenna and Kyle.

The general theme of the film is everyone trying to find their place in the world and how it will affect their outcome by combining themes of family, religion and friendship. I thought how Gerwig chose to highlight some of the more dramatic moments was handled quite effectively but at other times a little forced or awkward. The struggle is real both emotionally and financially for her family and even the school she attends by having the football coach teach theater arts (I personally loved that touch due to the lack of funding for most art programs). The observation of life through Lady Bird’s eyes is arrogant yet all the amusing at the same time.

So overall, it was nice to see Gerwig breakout with a huge hit and is a well done quirky character study/drama/comedy. The plot isn’t the most original idea ever, as with most coming of age stories, but the way she handles the drama and comedy ties together perfectly as there’s bound to be a moment or two in there that you’ve definitely experienced. It’s very relatable you could say, the good and the bad times. Looking forward to seeing how Gerwig continues as a filmmaker and definitely recommend checking it out if you’re into dramedies.

‘The Killing of a Sacred Deer’ was easily one of the most haunting films I’ve seen this year, it made me want to hide and curl into a ball. The film is based on the Greek play ‘Iphigenia at Aulis’ and takes a psychological horror spin covering themes of accountability, suffering, punishment, sacrifice and confronting sin. The film is layered with subtle character traits/arcs, symbolism and metaphors. As difficult as it was to watch (in a good way), the film is open to repeated viewings as there is plenty of room for interpretation.

You do have to be patient with the film as the unnerving suspense builds and reaches an unforgettable climax. There are plenty of minor moments caught on camera that reflect the juxtaposition of each character and their flaws/repressions. Martin is an interesting Christ-like character and his philosophy of justice is driven by his understanding of morality which is the heart of the story. There are many allegories to the Bible as well featured throughout due to the heavy emphasis on sin and forgiveness which I thought worked really well at times and a little too on the nose at others, overall was a nice touch though. The film is definitely open to discussion which is a personal preference of mine, these are the ones you’ll remember.

This is a slow burner for sure, but has the recipe for everything you’d want out of a good psychological thriller. The cinematography is wonderful, the score creeps under your skin and never goes away, the acting is chilling and unnerving, the plot keeps you shrouded in mystery, the sense of tension and dread is ever present once the ball gets rolling. I’ve read a lot of reviews of people really hating the film and I don’t quite understand, then again what else is new. Didn’t have an action scene every 2 minutes and 97 quips I guess! This is a solid recommendation if you’re into watching a slow burn of character driven turmoil that digs into you and gets into your nerves. ‘The Killing of a Sacred Deer’ was an experience, that’s for sure, definitely one I won’t forget and one of the better 2017 releases without a doubt.

Gonna do a 2017 summary soon since now that Diversity Wars will be playing, rip indie screenings. Much like last year, slow start but strong finish. Not looking forward to suffering during the first half of 2018 lol.

“I fundamentally disagree with every choice for Luke in The Last Jedi” – Mark Hamill

He’s right, you know. ‘Star Wars: The Last Jedi’ is a bad joke.

I hope all you professional critics out there are enjoying your Disney shekels, there’s no way you’re reviewing the film with honest integrity by hiking up the scores that high. We all have the right to our own opinions after all, you like what you like and vice versa, you have every right to. I just don’t think people are being honest with themselves with this modern corporate takeover of Star Wars though, it’s literally a repackaging of nostalgia and being sold right back to you. You’ve been had! Stop falling for this shit, c’mon people. This is starting to become a monopoly in the industry now and its disgusting, I’m done with Star Wars, it’s dead to me. I’m not watching any of the spinoffs or Episode IX. None of it, finished. When I think of Star Wars I will only consider 4-6 as legitimate films, the rest is a shallow imitation of the brand. It’s not like I go in wanting to be disappointed either, I try to be as optimistic as I can but it’s clear there is no creativity at display here. Kathleen Kennedy and her goons don’t care about filmmaking or storytelling. I think they hate it honestly, they’re just using it as a means to churn out propaganda and dip into the pockets of every media outlet to generate buzz to fill up theaters in the most sellout method possible.

So, let’s start with my critique of TLJ. The “plot” actually made me laugh. This is the best idea they could think of? A boring “car-chase” until they run out of fuel? After all these years of planning and development to this new series and here we are, watching the First Order dicking around in a giant pizza slice chasing a Resistance fleet with the occasional pop shot when something gets in range. I’m just absolutely on the edge of my seat! What will happen next!? I can only imagine how this idea was pitched and taken seriously in a production meeting. This is what I mean by the flick being a bad joke, it’s like they are laughing at the audience since they know they can throw anything on the screen and it’ll make a billion dollars because HEY! IT’S STAR WARS! Moving on…

Basically the entirety of TFA was thrown out the window, along with the OT and even aspects of the prequels.

>Phasma was pointless
>Snoke was pointless
>The mysticism surrounding the force is drastically cheapened
>Knights of Ren were pointless
>Luke's death was pointless
>Hux is pointless
>Everything introduced in TFA was pointless

Is everything in this nu-trilogy pointless? At least 3/4 of the flick was either pointless, tonally inconsistent, offensively bad, or some combination of all three. Everything established before TLJ is either willfully ignored or made irrelevant because this is the new Star Wars now! xD TFA left us with so many questions and explanations that needed to be addressed but nope. The greatest hero in the galaxy becomes essentially useless without any explanation. Snoke, who was claimed to have been more powerful than Vader and the Emperor combined, nah, doesn’t matter. We don’t know where he came from, the extent of his power, his motive, understanding his connection with Kylo/Rey. All that mystery and intrigue, gone in an instant. Rey’s “character” is still up in the air, it’s like they just kind of gave up explaining her backstory and were like, nah that’s fine. No one will care or notice. It’s only the fucking protagonist! Oh, but let’s make sure she still has zero flaws, got it. Again, it’s all like a bad joke, all this setup only to get written off in the laziest ways possible. Do they understand this franchise has millions of fans, right? They want to know this stuff and Disney dropped the ball, once again. Who needs a story when you have diversity! Hooray!

It’s almost impressive in a way, one film can kill an entire franchise. 40 years down the drain. It’s too late to save now, you can’t take out or add anything to TLJ to make it work. There’s no way Episode IX can save this trilogy, what’s left for us to care about? Typing this out has been painful so far, guess I’ll switch it up to the few parts that I did like. Leia actually had something to do here which was nice although her Superman flying scene was the dumbest thing I’ve seen in a Star Wars flick. Adam Driver was great again as Kylo Ren, who is the only interesting part of the new trilogy and the only character to have an arc. It was nice to see Luke again before they completely assassinated his character in the most anticlimactic way possible. I’m trying to be positive here, I really am… let’s see. The score was a lot better from TFA, it felt appropriate to the feel of what Star Wars should be like. Most of the acting was, er, watchable? I guess?

Overall, I think this will be a “love it or hate it” scenario even to the most hardcore fans. The OT was a big part of my childhood and that’s all it really is meant to be. I don’t hold onto it for dear life like some people, but I appreciate its influence to film and pop culture. I’m not going to sit here and whine and claim it raped my childhood since I just don’t care anymore. There is nothing to care about in the new trilogy. It’s a bad joke that a small percentage will laugh at and the rest will just pretend it never happened. That’s how I feel about it, it never happened, it’s all just a long running gag of an April fool’s joke. Looking at all the overabundance of people worshipping this thing just makes me laugh in disbelief, this is the future of film now. Great. This one will piss some people off after years of diehard dedication, I’m curious to see if there’s any backlash, and the rest will stampede into the theater with the most automaton fanboy mentality possible. All I can say is, go in, watch it, don’t expect much. This isn’t Star Wars anymore, it’s just a cheap imitation. Out of the entire EU of material to adapt from, this is what they’re going with. Enjoy your cash cow while it lasts Disney, it wont last forever.

As a theoretical Wiseman once said: "Star Wars died with TFA. TLJ buried it. I can only assume Episode 9 will piss on its grave."

The only other hope would be the Warhammer 40k universe, and NOPE! Don't ruin it, for the love of God. Let it be, please.

I'm legitimately at a loss for words right now, but I can't complain since I've been getting the highest amount of traffic/commentary for any review I've done so far. Gotta embrace the small victories I suppose.

WH40K is actual satire. It's excessively grimdark on purpose, originally just to be as silly as possible, since the story doesn't matter much in a boardgame. It's hard to "ruin" because it doesn't have anywhere to go. It's just pointless war, forever. It's like Ragnarok rolled into a space world war one aesthetic.

Makes for good heavy metal album covers and ok ish video games, but I can't see much good fiction coming out of it.

I think the new series is safely in prequel quality territory now. It's not nearly as badly written or acted, they're competently made films. But it's just shallow and meaningless, with random shock value deaths thrown in to add psuedo emotional depth.